We have to talk about

We Need to Talk About Kevin by Lionel Shriver

The gripping international bestseller about motherhood gone awry.

Eva never really wanted to be a mother - and certainly not the mother of the unlovable boy who murdered seven of his fellow high school students, a cafeteria worker, and a much-adored teacher who tried to befriend him, all two days before his sixteenth birthday. Now, two years later, it is time for her to come to terms with marriage, career, family, parenthood, and Kevins horrific rampage in a series of startlingly direct correspondences with her estranged husband, Franklin. Uneasy with the sacrifices and social demotion of motherhood from the start, Eva fears that her alarming dislike for her own son may be responsible for driving him so nihilistically off the rails.

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Published
06.12.2018

WE NEED TO TALK ABOUT RONNIE RADKE.

Suffocated by Motherhood, and a Child Whose Hold Still Lingers

We Need to Talk About Kevin is a psychological thriller tragedy film [4] [5] [6] [7] [8] [9] directed by Lynne Ramsay , and adapted from Lionel Shriver 's novel of the same title. A long process of development and financing began in , with filming commencing in April Tilda Swinton stars as the mother of Kevin, struggling to come to terms with her son and the horrors he has committed. It received generally positive reviews from both critics and audiences alike. Teenager Kevin Khatchadourian is in prison after committing a massacre at his high school. His mother, Eva, once a successful travel writer , lives alone in a rundown house and works in a travel agency near the prison, where she visits Kevin. She looks back at her memories of him growing up as she tries to cope with the hostility of her neighbors.

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It must be something like this to have a nervous breakdown. We find ourselves inside the mind of a woman whose psychopathic son has driven her over the edge.

That trite phrase is accurate in an almost technical sense: Ms. Tilda Swinton , who plays the anguished mother, is far too specific a screen presence to be an easy audience surrogate. Much of the queasy fascination that the film exerts is the result of her uncanny ability to play against any imaginable type. Her character, Eva Khatchadourian, is too complicated for pity, projecting a mixture of cold poise and extreme vulnerability that makes her predicament especially awful. We watch as she loses everything except her dignity, but it is precisely that noble, steely pride that places her just beyond the range of a sympathy that she would most likely refuse, in any case. What if they turn out wrong? What if they refuse to love us?